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38 black and white, single-sided illustrations of THEMED characters! Colour your way through pirate mania, fireman frenzy, cat fetish, steampunk girl and candilious... to superhero antics, cupid chic, pug passion and mermaid mania... plus a test page to test your colouring mediums!

In this richly varied selection of Tony Harrison's provocative prose of the last fifty years, the great poet of page, stage and screen presents a lifetime's thinking about art and politics, creativity and mortality. In so doing, he takes us on an extraordinary journey through languages and across continents and millennia, from his Nigerian Lysistrata to the British Raj of his version of Racine's Phèdre, to post-Communist Europe for the film Prometheus to a one-off performance of The Kaisers of Carnuntum at the Roman amphitheatre in Austria on the Danube, to the peace camp at Greenham Common, and from a Leeds street bonfire celebrating the defeat of Japan by the new atomic bomb to wines made from the vines on volcanoes. A collection of work filled with passion and humour that educates as it dazzles. 'More than Yeats, Eliot or Auden, more than anyone writing in English this century, and perhaps the two before that as well, Harrison has demonstrated that verse drama remains a living artistic possibility.' Observer

Worthen uses contemporary Shakespeare performance to explore the technicity of theatre: its changing work as an intermedial technology.

Renaissance Drama, an annual and interdisciplinary publication, is devoted to drama and performance as a central feature of Renaissance culture. The essays in each volume explore traditional canons of drama, the significance of performance (broadly construed) to early modern culture, and the impact of new forms of interpretation on the study of Renaissance plays, theatre, and performance.

The first comprehensive study of the leading American avant-garde theatre director Robert Wilson.

In Shakespeare on Theatre, master acting teacher Robert Cohen brilliantly scrutinises Shakespeare's implicit theories of acting, paying close attention to the plays themselves and providing a wealth of fascinating historical evidence. What he finds will surprise scholars and actors alike – that Shakespeare's drama and his practice as an actor were founded on realism, though one clearly distinct from the realism later found in Stanislavski. Shakespeare on Acting is an extraordinary introduction to the way the plays articulate a profound understanding of performance and reflect the life and times of a uniquely talented theatre-maker.

Issues for 1965- include "Recent publications on theatre architecture," no. 13/14-

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